Philippine dance

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MAJOR WORKS

ANG SULTAN

(The Sultan). 1973. Modern dance in one act. Scenario and choreography, Gener Caringal; music, Lucrecia Kasilag (Divertissement for Piano and Orches- tra, adapted to the piano); costume design, Arturo Cruz; set design, Monino Duque; lighting design, Teodoro Hilado and Duque. Premiered by the CCP Dance Workshop Company (now Ballet Philippines) on 12 Oct 1973 at the Main Theater (now Tangha- lang Nicanor Abelardo), Cultural Center of the Philip- pines (CCP). Cast: Lydlyd Gaston (Princess), Eddie Elejar (Sultan), and Rey Dizon (Lover). An earlier ver- sion called Patriarch, set to music by Alan Hovahness, { was presented on 1 June 1973 for the Fourth CCP \_Summer Dance Workshop at the CCP. The princess was Lydlyd Gaston, the lover Rey Dizon, and the sultan Ronnie Leonardo. This one-act modern piece uses space to demar- cate the areas of the men and of the women, and most of the conflicts arise from what happens to the main protagonists between them. The sultan is loftily borne by his men, among them the commoner who falls in love with the sultan's daughter. The princess is sur- rounded by her handmaidens or guarded by the sultan himself. But the lovers meet in a pas de deux highlight-

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TAGABILI

1966. Folk dance choreography. Choreography, Lucrecia Reyes-Urtula; traditional music arranged by Lucrecia Kasilag. Premiered by the Bayanihan Philip- pine Dance Company in honor of Dr Francisca Tirana Benitez, Philippine Women's University (PWU) presi- dent emeritus, on 4 Jun 1966. The Tboli, also known as the Tagabili of Lake Sebu in South Cotabato, provides the subject for this one-act folkloric ballet. The theme is based on a research effort by the Bayanihan team headed by Helena Z. Benitez, with Lucrecia Reyes-Urtula, Jolly Benitez, and Ileana Maramag. The dances, chants, music, costumes, epics, folklore, brass work, and weaving were studied and gathered through the cooperation of the Santa Cruz Mission of Lake Sebu, with Fr Rex Marsmann,

and datu Mafok Yet-lu, the first of his fom: wives, and his people. The plot sequence was inspired by a Tboli story that has traditionally been woven into a beautiful aba- ca cloth called tinalak. The dramatic suite is a tale of retribution. A ruling datu has a favorite wife, who attempts to seduce her lord's younger brother. In a fit of jealousy, the datu slays his brother. As punishment of the god Diwata, the datu's one and only daughter falls ill. According to traditional Tboli belief, the daughter can only be saved through marriage. Neigh- boring tribes and four noble suitors vie for her hand, each with a different dance. A poet-prince is finally chosen by the princess, but she goes into a trance from which she never awakens. The tale ends with the symbolic burning of the datu's house and village by the datu himself, in recognition of the death of his line and to get rid of the evil spirits lurking around. After its premier, the dance was included in the Bayanihan's repertory for its 1967-1968 world tour. It has since been periodically revived. • L. R. Urtula

TALES OF THE MANUVU

1977. Rock opera ballet in five parts. Choreogra- phy and stage direction, Alice Reyes; music, Nonong Pedero and the Afterbirth; musical direction, Rey Paguio; script and libretto, Bienvenido Lumbera; set design, Santiago de Manila; lighting design, Monino Duque. Premiered by the CCP Dance Company (now Ballet Philippines) on 25 Feb 1977 at the Main Theater (now Tanghalang Nicanor Abelardo), Cultural Center of the Philippines (CCP). Cast of dancers and singers: Gener Caringal and Boy Camara (Manama), Antonio Fabella and Anthony Castelo (Ogassi), Rey Dizon and Hajji Alejandro (First Man), Gina Mariano and Celeste Legaspi alternating with Leah Navarro (First Woman) Accompanied by the Afterbirth with the UP Concert Chorus. Tales of the Manuvu is a Filipino rock opera ballet in five parts. The play begins with a traditional pro- logue, Tabbayannon, in which the content and method of the presentation are explained. The story narrates the beginning of all things with the good god Manama who is surrounded by diwata and anita (good spirits) and is confident of his omnipotence. Counteracting his powers is the evil god Ogassi who is assisted by the busaw (bad spirits). With only a katungaw-tungaw tree growing in his realm, Manama's land is barren, in contrast to Ogassi's which is lush with vegetation. This starts the enmity between them or between good and evil.

TANAN

Manama is asleep for the greater part of the year, but wakes up for a brief while to get his divine tasks done. He thinks up Man and the entire skyworld is mobilized to realize his grand project. But when he dozes off, Ogassi manages to subvert the project and messes up Manama's plan to give Man eternal life. When he comes to life, Man is only too grateful for the opportunity to explore the world, and cannot care about the brevity of existence. Defeated, Ogassi per- sists in creating discontent in Manama's creature by asking Man why he is alone. In turn, Man asks Manama why he is without a counterpart. Manama knows that his creation would cease to depend on him once he is given a counterpart; however, to deny him a partner would be giving Ogassi his victory, and so Manama creates the First Woman. Ogassi stirs up in- definable longings in the First Woman. She is discon- solate over a sense of incompleteness she cannot understand. Before Ogassi scores another victory, Manama drops a kakapa worm on the buttocks of man, whose resultant movements lead to the discovery of the pleasures of sex. In the course of time, Nature becomes less benign, and the goodwill among men disappear. Men and women pounding rice disrupt Manama's sleep, and, in a fit of irascibility, he orders the skyworld to be raised beyond the reach of people so he can sleep unperturbed. Now unhampered by his rival, Ogassi creates the giant Makarallig who drives people away from their lands, spreading death and destruction everywhere. Realizing that they have no one to turn to but themselves, the people organize themselves to fight off the giant, and succeed in driv- ing the marauder and Ogassi away. The people realize that through struggle, they have within themselves the resources to create their own fate. • E. Vida

(Elopement). 1969. Modern ballet in one act and three scenes. Choreography, Felicitas Layag-Radaic; music, Juan Silos Jr; set design, German Lazo; costume design, Marcella Lopez; lighting design, Mitos Villareal. Premiered on 24 Apr 1969 by Dance Theatre Philip- pines (DTP) at the Meralco Theater. Cast: Tina Santos and Julie Borromeo (Maria); Israel Gabriel (Kardo); Tony Llacer (Mang Basio); Pilar Borromeo (Dona Pepang); Joy Coronel and Delia Javier (Aling Tale); Odon Sabarre (Lad). Among the notable subsequent Marias have been Felicitas Layag-Radaic herself, Lourdes Dalupan, Malu Rivera, Mary Mae Asensio, Sonia Domingo, Mary Anne Santamaria, Heidi Domingo, Lisa Macuja, Maritoni Rufino, and Katrina

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MAJOR WORKS

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1985. Modern dance. Choreography, Denisa Reyes; music, Georges Bizet; costume design, Salvador Bernal; lighting design, Katsch S.J. Catoy. Premiered by Ballet Philippines on 8 Nov 1985 at the Main Thea- ter (now Tanghalan Nicanor Abelardo), Cultural Cen- ter of the Philippines. Cast: Hazel Sabas, Mercedes Manago, Conrad Dy-Liacco, Nonoy Froilan, Cecile Sicangco, Tina Fargas, Jinn lbarrola, Romy Roxas. Reyes choreographed the piece during a period of political uncertainty. Taking an age-old and deeply rooted religious theme and one of the world's most beautiful hymns, she embarked on an interpretation that reflected her own ambiguities about national isues. Set against the huge cross with a halo-host at its center, the ballet develops monuments that crystallize into symbolic visions of the Carrying of the Cross, the Crucifixion, the Pieta, and the Resurrection and Trans- figuration of Jesus Christ. The spasmodic and angular movements vividly evoke Reyes' inner anguish and turmoil as a Filipina beset by her country's ills. The result is a unique and refreshing dance interpretation of musical scores and hymns. In 1985, Basilio Esteban S. Villaruz observed: "Out of Te Deum's simplicity and directness, the splendor of the soul-deep recesses and at the sublime power beyond us broke out like blazing light. But that light came from a throbbing, even sobbing, darkness with- in. It was a mechanical, magical, magnificent ballet to spellbind. The company danced brilliantly in one spir- it, flashing like swords, fervoured like fires." • E. Vida and B.E.S. Villaruz

TESTAMENT

1998. Modern ballet in three movements. Choreography and scenario, Basilio; music, Bela Bartok (Piano Concerto No. 3); projections, Ofelia Gelvezon-Tequi; costume design, Raquel Rey; lighting design, Raymond Salvacion. Premiered by Dance Theater Philippines on 19 Oct 1980 at the City Hall Recital Hall, Hong Kong. Cast: Gina Katigbak (Pro- tagonist), Marivic Mapili Vela (Vision), Mary Anne Santamaria and Ricardo Ella (Horizon pas de deux), Lisa Macuja, Rupert Acuna, and Victor Madrona (Tet- rad and pas de quatre). This ballet in three movements was premiered by the Dance Theater Philippines for the Festival of Asian Arts. When the curtain rises, a woman (Protagonist) with fire designs on her body, is caught alone in a weighted pose. She dances perturbed. Soon other

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dancers similarly costumed rush about and sustain her, but they all go away. The Protagonist then sees a Vision in a pas de trois. A woman soars over her two male partners. After a sharp solo and poses with her partners, she is again borne away. Another confident woman enters alone and is soon joined by a virile partner. Their pas de deux is framed by a corps de ballet. They all finally form a brief tableau and file out, the woman carried off by her man as the music dimi- nishes in intensity. The Monologue of the Protagonist follows, a gliding yet weighted solo. To an introspec- tive melody, she tests her sureness with balances, but often drops over sharply. Sadly, she goes to the floor, reaching and crying. This develops into extended and turning movements. As the music slackens, she glides away, reaching up and out. A birdlike allegro intro- duces two pairs for the Tetrad (or Of the Same Feath- ers) pas de quatre. In an adagio, they strike symmetric- al and asymmetrical poses and sequences, sometimes expansive, sometimes contracted. They end quietly in a harmonious line, comforting one of the men. They go to separate places and bow, ready for the Epode (or Jubilation). This third movement starts with the two men's vigorous variations, followed by the two women's own sharp variations. Two other men and two other women join them to frame the Protagonist's crossing the stage, and continue their own driven dancing together. The women are all borne up and

TE DEUM. Personal and poiiHcal angst dynamlze Denlsa Reyes' angular movements In Te Oeum,1985. (Rudy Vldad, Ballet Philippines Co//ec#on)

out. A corps de ballet enters gradually for a pas de six. The marked music brings back the four men. The com- plete cast now frames in various formations the Pro- tagonist with whom they alternate steps or statements. She leaps over the men who bring her up and down. Everyone moves to the music's increasing climaxes. All end around the Protagonist, who is hoisted by the men, even as she reaches out to the audience with her unappeased alienation and despair. • B.E.S. Vil- laruz

TREND: RETURN TO NATIVE

1941. Folkloric ballet in five segments. Choreogra- phy, Leonor Orosa-Goquingco. Premiered in February 1941 at the Metropolitan Theater. Cast: Leonor Orosa- Goquingco, Conchita Luzurriaga, Hortensia Gustilo, Carlos Blanco, Ricardo Pastor, Albert Gaskell, Jess Ayco, Nick Agudo, Gilda Cordero, Cecile Yulo. The 40-minute folkloric ballet is one of three ori- ginal ballets in Orosa-Goquingco's two-hour Philip- pine Youth in Ballet. The other two were the classic- styled "Idylls" and the modern "Sports," which fea- tured a cheering squad, tennis, and basketball. Trend runs through five segments: "Primitive," the first theatrical rendering of Mt Province styles, such as rituals to beg the gods for rain; "Vinta," the

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first stylization of dance forms from the Philippine south, which previously premiered at the Manila Grand Opera House in 1939, and also featured the first choreographed duel; the Spanish-influenced "La Fes- tejada," "American Jazz," and "The New Native," a prophecy and foretaste of return to Philippine styles, as Maria Clara returns to lead the search for a new, creative Philippine dance theater. Over 100 dancers, including the choreographer- whaled the cast in the "Jazz" and "New Native" sequences-performed in Trend, the first extended bal- let of native theme to trace the history of Philippine dance styles. • L. Orosa-Goquingco.

TROPICAL TAPESTRY

1983. A ballet in three parts. Choreography, Basilio; music, Ruben Federizon (Ritmus Tabulare), Joaquin Rodrigo (Fantasia para un Gentil-hombre), and Antonio Vivaldi (Concerto in A minor for Piccolo, but played on a block-flute); costumes, Raquel Rey (part I) and Arturo Cruz (parts II and III); lighting design, Raymond Salvacion. The three sections representing Luzon, Visayas, and Mindanao, were developed separately. "Mosque Baroque" was premiered by Dance Theatre Philippines (DTP) in Webster Memorial Theater, Arbroath, Scotland, on 6 Aug 1975; "La Adoracion" and "Hidden Rites" (to Samuel Barber's Adagio for Strings) by DTP and St Theresa's College School of Dance in Meralco Theater, Pasig, on 4 Mar 1978. "Hidden Rites" was replaced by "Paglalang"

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(Creation, to the Federizon score), premiered by DTP (with parts II and III) on 9 Sept 1983 at the Cultural Center of the Philippines. Premiere cast of "Paglalang" had Regina Debuque and Jonathan Terry; "Adora- cion" had Mary Anne Santamaria (La Dama), Joseph Raftola (El Hidalgo), Anna Villadolid alternating with Lida Abad Santos (La Zagala), Victor Madrona and Benjie Lintag alternating with Jose Lirio (Los Zagales); "Mosque Baroque" had Irene Sabas (Sultana) and Mitto Castillo (Sultan). "Paglalang" (Creation) is about the first man and woman, Malakas and Maganda (Strong and Beautiful), in pintado (body-tattoo) costuming. They are first re- vealed behind branches which they hold; they dance a subtle flirtation in solos and duets and come to final union in an embrace. "La Adoracion" (Adoration) is inspired by pandanggo sa ilaw, but with only one lighted drinking glass in the hand or on the head for the women. It has accumulative movements in simple style, and features as pas de deux between La Dama and El Hidalgo amid lines of lights on the floor, a pas de trois among La Zagala and two zagales that exploits lines and supple bends, and a lively jota for six women. As the ballet ends with everyone drifting

away, it leaves the Hidalgo and the Dama with a single light on her head. "Mosque Baroque" is a series of dances in three movements, set off by a grand vinta sail. It is echoed by the Sultana's mat-malong-canopy. In this series of dances with the Sultana and her female attendants, and the Sultan and his male attendants, a slightly flirtatious pas de deux ends with the couple under an upraised canopy; a finale elaborates move- ments with the women's scarves. The ballet ends with everyone flailing their scarves or prancing about with ankle bells. • B.E.S. Villaruz

TCHAIKOVSKY FANTASY

1982. Modern ballet. Scenario and choreography, Basilio; music, Peter I. Tchaikovsky (Souvenir de Flor- ence); costume and set design, Raquel Rey; lighting design, Raymond Salvacion. Premiered by Dance Theatre Philippines on 20 Nov 1982 at the Meralco Theater, to herald the 90th death anniversary of the Russian composer Tchaikovsky in 1983. Cast: Augustus Damian (Peter), Anna Villadolid (Antonina), Sophia Radaic (Nadezhda). This ballet had an earlier, capsulized version in 1976, Perjured Hearts (to Tchai- kovsky's "Autumn" in The Months), choreographed for Odon Sabarre (Peter), Vella Damian (Nadezhda), and Josette Salang (Antonina). In some way the notes to that piece summarizes Tchaikovsky Fantasy: "A lyric and liberal interpretation of Tchaikovsky's affairs. He and Madam (Nadezhda) von Meek, his patroness, were supposed to have never met but exchanged ar- dent letters, while Antonina, his wife of an impulsive marriage, he never truly loved." The latter ballet en- larges on this "fantasy" about the composer. The added corps de ballet also functions as a chorus. Before the curtain rises, the theme of the "Allegro con Spirito" is established. The stage opens on, three rainlike cages which enclose the three main figures of the ballet. One of the cages rise, freeing Antonina to dance her feelings out with the corps de ballet. After a brief absence, she returns to draw out Peter from his caged spot to dance with her, and Nadezhda to estab- lish her mysterious presence. The dance of Antonina and Peter grows from hesitancy to fuller involvement. In the "Andante Cantabile e con mota," Nadezhda replaces Antonina in a pensive solo. Then Peter joins her for an involved pas de deux. They two avoid each other's eyes-to suggest that in real life they were never close. A series of swirling musical and dancing passages separate them. Left alone, Peter gives vent to his longings and anguish to a sad melody. Three female "images" confront him, but they are later re-

VISION OF FIRE

placed by the more real Antonina and Nadezhda who surround him. He turns perplexed, and is left as though awakening from a dream. The "Allegro Modera- to" has Russian qualities to which the mature Nadezhda, in an authoritative solo of balances and turns, and the young Antonina, in her own brisk solo of rhythmic and directional changes, dance out character and clas- sical steps and poses. The final "Allegro Vivace" is intro- duced by the corps in a linked and weaving dance. Peter dances before them jovially, Antonina dances to be encircled by part of the corps, and Nadezhda, too, surrounded by her own side. Peter brings both of them to his center spot and dances with them briefly, after which the corps seems to push them upstage like waves. With the complete corps of eight somehow screening them from the audience, Peter lifts Nadezhda while Antonina falls by his feet in a final tableau. • B.E.S. Villaruz

VISION OF FIRE

1982. Modern dance in three sections. Choreogra- phy, Edna Vida; music, Ruben Federizon; costume de- sign, Salvador Bernal; lighting design, Katsch S.J. Catoy. Premiered by Ballet Philippines on 1 Oct 1982 at the Main Theater (now Tanghalang Nicanor Abelardo), Cultural Center of the Philippines (CCP). Lead dancers: Cecile Sicangco, Toni Lopez Gonzalez, Hazel Sabas, Maricar Drilon, Mercedes Maii.ago, Tina Fargas, Perry Sevidal, Juliet Molina, Zaida Halili, Branda Miranda, Jinn lbarrola, Ramon Victoria, Conrad Dy-Liacco, Noordin Jumalon, Ric Culalic, Jojo Lucila, Adam Sage. This work was commissioned for the 1982 CCP Philippine Music Festival. The musical score of Federizon, a composer who has been inspired by in- digenous music, is an ethno-jazz polyphony rich in texture, and an excellent match for the physical and immediate movements of the ballet. Vision of Fire is a modem dance piece in three sections based on the story of Adam and Eve. It begins with man in his basic innocence, then he is tormented by woman's passion. The dance proceeds to dramatize their union in the primal stage, and the discovery of freedom, until passion locks them in a preordained destiny. Vision of Fire has since undergone considerable revi- sions. The first section of the ballet has metamorphosed from grounded pagan movements into surreal flowing mannerisms inspired by tai-chi. The music has been edited and sections of the ballet shortened. Vision of Fire was included in the company's re- pertoire for the 50th American Dance Festival in Dur- ban, North Carolina, in June 1984 as a personal choice

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MAJOR WORKS

YERMA

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